This post sets out the material composition of the cold wax medium I use — the beeswax, damar resin, and solvent — and describes how these elements behave during and after painting. It is intended as a reference for those who want to understand the physical basis of the work.

In April 2025 I showed a new group of paintings at Fresh Art Fair, Cheltenham Racecourse. The works were part of my continuing forest series — each one an attempt to hold the particular quality of light and structure that draws me back to woodland as a subject.

Gold enamel and cold wax medium

For centuries, the death of painting has been proclaimed. Since the invention of printing during the Han dynasty, artists have anxiously watched each new technological advancement. When the printing press emerged, artists had valid concerns, but they eventually leveraged mechanical reproduction to replicate their work and reach a broader audience. With photography's arrival, it became clear that the representation of reality could be handed over to an optical device capable o

Cold wax landscape painting techniques

The surface of a cold wax painting is never passive. This post explores how I approach the building and reworking of a painted surface — the layering, the scraping back, the moments of decision — and what it means for a painting to feel alive rather than resolved.

This work represents something of a departure. It is a graphic rendering of a winter tree, with a pronounced emphasis on drawing and linear qualities — a shift from the more atmospheric landscape work that typically occupies my practice. The painting uses oil, cold wax, bitumen, pumice stone powder, and enamel on an 80 × 80 cm canvas. 'The Dream of a Golden Tree' Oil, Cold Wax, bitumen, pumice stone, enamel on 80 x 80 cm Canvas Materials and Process The general process is re

The Fenlands of Britain exist in an imaginary space — out of time and out of step with an increasingly homogenised and utilitarian world. They are made up of woodlands, wet grasslands, marsh, bogs, meadows, and shallow ponds, teeming with life. There is a constant visual interplay between grasses, reeds, and water; between bramble, branches, and sky. Slow-moving rivers, lodes, and streams are seen through a tracery of golden arches and erratic parabolas. A rhythmic dance of c

After several years of working with oil and cold wax, I have come to understand the medium less as a set of techniques and more as a set of conditions. This post reflects on what those conditions are, and how they have shaped the way I think about painting.

This painting was seen in my ‘Cambridge Envisaged’ exhibition in autumn of 2016 in the centre of Cambridge University.

'After Glow' 80 x 80 cm Acrylic on Canvas 'Afterglow' — The Light Series This painting belongs to The Light Series, a group of works concerned with the landscape of the Cambridgeshire Fenlands. It is a personal reflection on the open fields and skies of East Anglia, though the work carries no topographical information to act as a compass or guide. There are no landmarks, no trees or hedgerows, no features that would anchor the image to a specific place. The viewer is left wit

Creating art is a fundamental part of my identity and a way for me to express my emotions and thoughts. When I make images, I feel like I’m connecting with something deeper. This process feels like a journey, where each brushstroke or pencil mark leads to new insights and understandings. Art helps me capture the complexities of life—its beauty, chaos, and mysteries. Each piece I create represents a specific moment, emotion, or idea that interests me. Making art isn't just abo

A landscape painting of Thetford Forest in oil and cold wax medium

' The Archaeology of Thought' Oil and cold wax 60 x 60 cm

A Minimalist abstract painting based on water and clouds

Borderlands. An abstract Landscape painting by Peter Corr. See his work at the Battersea Affordable Art Fair 21 - 24 October 21

Red embodies an emotional power like no other colour and the associations for each individual are almost limitless. The materials used in th

This multi-layered mixed media oil painting represents a development of my New Forest series and continues my engagement with nature and land. The surface consists of multiple layers of oil and cold wax, with a marked impasto and strong textural qualities. The gold enamel has a soft patina and mirrors elements of the colour and tone of the immediate environment. Gold has been applied selectively to some of the vertical forms, providing intense points of reflective light again

I have arrived at an interpretation of the Fenlands through working with materials and actually living here and experiencing the...

A painting inspired by the warmth and vibrancy of the Sun. For me, the shapes and colours of this work on hand made paper reflect the...